文献一覧: 舞踊学会 (出版者)

2 0 0 0 1920年代のドイツ表現主義舞踊:バウハウス・オイリュトミー・リトミックなどと関連して

著者: シュミットヨッヘン渡辺知也
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1999, no.1, pp.92-101, 1999

2 0 0 0 OA 六代目菊五郎の舞踊と身体

著者: 児玉竜一
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1999, no.22, pp.125, 1999 (Released:2010-04-30)

2020-08-18 12:04:32
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2 0 0 0 OA 身体を運動させる空間-トリシャ・ブラウンのダンスとドローイング

著者: 伊藤亜紗
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.2008, no.31, pp.1-9, 2008 (Released:2010-04-30)

Trisha Brown, who is a founding member of Judson Dance Theater, has been interested in the relation between the moving body and the surrounding space—the space not only as room in which the body moves but also as device which instructs and inspires the body how to move. As the minimalist object is the function of the space, her dance is highly influenced by the condition of what is surrounding the body. The aim of this paper is to focus on this relation examining her different but connecting two fields of practice that is to say dance and drawing.Many of Brown's drawings are drawn with one stroke, where the line on paper is the trace of continuous movement of body. The aesthetical criteria look less important. Nevertheless the eye plays leading role there, because some rules concerning the points to pass are given. The hand led by eyes must choose one point to pass among the apexes of imaginary grid each time. This game-like drawing keeps her conscious of present.The same approach can be seen in her dance piece. In Locus (1975), Brown invented “Imaginary cube.” The dancer is at the center of Imaginary cube and touches each apexes according to the given order. By doing so, she unexpectedly leave dance between two apexes. The rule is not in dancer but in space, and the dancer keeps referring to the cube around her. Dancer's body is now free of role of expressing any idea. On the other hand, Imaginary cube works as tool to invent choreography.Since 1979, Brown has given performances at theater with proscenium arch. She questions the theatrical space and tries to turn its stressing atmosphere into advantage. For example she invents the floor pattern according to which one dancer's movement interferes with another dancer's movement. The space with some rules can be used as device to make dance.

2019-11-01 23:53:06
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2 0 0 0 ネワール族の祭り舞踊ガン・ピャカン

著者: 一柳智子片岡康子
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1985, no.8, pp.50-51, 1985

2019-11-01 20:38:11
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2 0 0 0 三浦ヒロ・戸倉ハルとその時代

著者: 松本千代栄
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1999, no.22, pp.82-87, 1999

2019-09-16 23:54:07
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2 0 0 0 戸倉ハルとその時代

著者: 茅野理子
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1999, no.22, pp.77-80, 1999

2019-09-16 23:46:25
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2 0 0 0 OA 文楽人形による型の分析

著者: 吉田文雀吉田和生吉田和右
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.2000, no.3Supplement, pp.63, 2000 (Released:2010-04-30)

2019-08-05 11:04:04
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2 0 0 0 OA 大学における民俗舞踊の指導について (報告)/民俗芸能の演技における近代と変化 (報告)

著者: 佐藤雅子橋本裕之
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1999, no.1Supplement, pp.139-143, 1999 (Released:2010-04-30)

2016-06-29 20:28:31
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2 0 0 0 OA 展望語られた舞踊論

著者: 石福恒雄
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1979, no.2, pp.23-28, 1979 (Released:2010-04-30)

2015-06-08 05:06:55
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1 0 0 0 OA 韓国における学校舞踊教育と大学舞踊教育の実態について

著者: 玄〓禎金素羅
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.2005, no.28, pp.42, 2005 (Released:2010-04-30)
参考文献数: 3

2023-01-04 01:57:09
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1 0 0 0 OA 「奇妙な沈黙」 1900 年代のダンカン訪露とフォーキンのバレエ改革

著者: 北原まり子
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.2017, no.40, pp.35-40, 2017 (Released:2019-12-05)

In 1904, Michel Fokine attended Isadora Duncan’s Russian debut, and his reform of the art of ballet, which occurred a year later, was realized under the influence of her art. This narration received a very wide currency during the choreographer’s triumphal European tours with Serge Diaghilev’s Ballets Russes in the 1910s, after which Fokine was forced to struggle to detach his reform from her art and dispel his disgrace as Duncan’s “follower” or “imitator.” To defend this discourse, published texts on the choreographer have principally depended on the following two references written in the 1920s: Duncan’s posthumous autobiography My Life, in which she reminisces about a dinner with Diaghilev’s circle after her first appearance in St. Petersburg, and a letter written by Diaghilev wherein he recalls attending Duncan’s Russian debut with Fokine. However, these two sources are dubious with regard to their dates if we weigh them against some contemporary accounts, Fokine’s recollection, or the date of Léon Bakst’s portrait of Duncan. Indeed, according to Vladimir Teliakovsky’s diaries, it was during her Russian sojourn from the end of 1907 to the spring of 1908 that Duncan was closely associated with the Imperial Theatre and their ballet company as she visited the Imperial School and gave a demonstration in the Mariinsky Theatre with her German school students.

2022-12-29 19:05:49
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1 0 0 0 OA 《牧神の午後》(1912 年)におけるヴァーツラフ・ニジンスキーの創作の意図

著者: 佐藤真知子
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.2018, no.41, pp.1-11, 2018 (Released:2020-07-14)

The aim of this study is to clarify what was Vaslav Nijinsky's intentions for his first choreographic work, L'Après-midi d'un Faune, through the analysis of his words on the work. Vaslav Nijinsky [1889? - 1950] is a Russian dancer and choreographer in the early 20th century, and he was a member of Sergei Diaghilev’s Ballets Russes. His Faune has some strong characteristics: two-dimensional symbolization, sexual representation, and angular forms and gestures. However, his choreographic intentions of the work has not been thoroughly researched. By further analyzing his words, it became clear that Nijinsky tried to harmonize the classical attitudes of the ancient bas-reliefs and the aesthetical movements of the Greek-Roman mythological characters in the Faune. Also, he was very interested in pure forms and gestures of ancient Greek sculptures, and he tried to incorporate them into his work. Considering his aesthetic interests and the contemporary art movements, it is concluded that he attempted to demonstrate purely plastic dancing body in the Faune by adopting angular forms and two-dimensional symbolization from the theory of the art of Cubism.

2022-12-28 13:14:17
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1 0 0 0 OA 『拙筆力七以呂波』について

著者: 鈴木英一
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.1989, no.12Appendix, pp.16, 1989 (Released:2010-04-30)

2022-12-13 20:05:01
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1 0 0 0 OA コレオグラフィーの遺産ルドルフ・フオン・ラバンの1920~30年代における振付と演出に関する一考察

著者: 斉藤尚大
出版者: 舞踊学会
雑誌: 舞踊學 (ISSN:09114017)
巻号頁・発行日: vol.2003, no.26, pp.11-20, 2003 (Released:2010-04-30)

This article presented the historical and sociological aspects of Laban's choreographic idea. Examining Laban's writings in the 1920's, the influence on his movement theory from the contemporary symbology of ancient language in additon to the precedent ballet choreography was discussed. Further analysis revealed the importance of the freemasonic iconology of crystals in the embodiment of his theory in the theater work and mass dance. Finally, referring to the German sociologist Georg Simmel's notion ‘mass ornament, ’ the difference between Laban's representation of mass and that of Nazism was argued.